Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
15 Mar 2005
Countertenors Victorious in Copenhagen
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera’s revival of Francisco Negrin’s production of Handel’s “Giulio Cesare” featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of “Rodelinda”) is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, “Ich Habe Genug”, reviewed elsewhere.
Copenhagen Opera House
High Flying Singing: Copenhagen's Baroque Feast
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera's revival of Francisco Negrin's production of Handel's "Giulio Cesare" featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of "Rodelinda") is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, "Ich Habe Genug", reviewed elsewhere.
This taking over of Copenhagen by the men who sing high was augmented by two others: Chris Robson, also reprising his acting tour de force in the role of Tolomeo alongside Scholl, and a fascinating newcomer to the European opera scene in the form of young Michael Maniaci, a true male soprano in the small but pivotal role of Nireno. He was one of only two cast members new to the production, the other being John Lundgren as Curio. Once again, Lars Ulrik Mortensen conducted the baroque orchestra Concerto Copenhagen, this time more fully equipped in the horn section and sounding more comfortable in the most demanding of Handel's intricacies.
From a box-office point of view, this was a revival to ensure good returns on a known success story and it did not fail to come up with the goods in that department. Vocally too, the entire returning cast of Scholl, Inger Dam Jensen (Cleopatra), Randi Stene (Cornelia), Tuva Semmingsen (Sesto), Palle Knudsen (Achilla) all sounded far more in concert with both staging and each other, and many of the first-run lacunae have been filled or re-jigged to work more smoothly. However, it was also obvious that this staging still has its limitations and oddities that strike an uncomfortable note - the dead shark's appearance to loud audience laughter just prior to the emotionally-draining aria from an imprisoned Cornelia is still a dramatic disaster, whilst some of the more obvious visual jokes pall quickly.
Vocally, the stand outs were Semmingsen and Scholl. The young mezzo has matured vocally and dramatically and now makes a stunningly effective Sesto, showing great understanding of Handelian sensibilities yet also displaying confident cadenzas and ornaments all her own. She is lucky to have the build and features that adapt well to this part, and should be able to take this role almost anywhere in the world, should she wish to. Scholl's many fans were not disappointed by his performances during the first week - his renowned tone and technique, not to mention upstanding physique, fit this role extremely well, and there were some glorious moments once he had warmed up. If his "Aure, deh per pieta" lacked a little in legato silkiness compared to the first run, his singing in "Se Infiorito", the "duet" with the violinist on stage, was particularly elegant, charming and effortlessly virtuosic and also showed that he is now, at this stage of his career, beginning to feel more comfortable on the opera stage. A slight tendency to wave the hands around in moments of high emotion remains, but overall this was a much more satisfying dramatic performance than three years ago.
One young singer who will not have any such concerns on the dramatic front is Michael Maniaci - at 28 years old he is already showing an amazing ability to hold the eye whilst doing virtually nothing on the stage, coupled with an exciting strong true male soprano voice that promises much in roles written for the higher castratos of Handel's time. He has already had significant successes in such roles and as Monteverdi's Nerone in the United States (Wolf Trap, Glimmerglass, Chicago Opera Theatre ) as well as a much-discussed Cherubino at Pittsburg, and this was his European debut in a large house. Unlike in the original production three years ago, Nireno's one aria in Act 2 "Chi pede un momento" has been restored for Maniaci to sing, and he took full advantage of this opportunity. If the voice was still a little unfocused and uncontrolled from time to time, he showed excellent intonation, strength and true colour. One could look forward to hearing him in the title role of a major production Xerxes one day, and certainly as Sesto in the near future. Could this voice be the next big thing on the baroque opera scene, in the way that Daniels was a decade ago? Certainly it is an exciting prospect to whet the appetite of aficionados of the genre.
© Sue Loder 2005